Le Havre. Entrance to the Port. 1864

Editor: Here we have Eugène Boudin's "Le Havre. Entrance to the Port.", created in 1864 with oil paint. It definitely captures a specific, quiet mood. The brushstrokes feel quick, almost fleeting, and there's this overall hazy atmosphere. What do you make of this painting? Curator: Boudin! Ah, yes, a master of capturing light on water and often called one of the precursors to Impressionism. It's interesting how he presents the industrial activity of the port with such a delicate touch, isn't it? Look at the way the light filters through the clouds, bouncing off the waves. It's almost as if the ships are floating not just on water, but on light itself. The steam of those ships really places it; you can almost hear it, can’t you? Like a long lost dream. Editor: Definitely. I see what you mean about the light, but I'm also drawn to the sort of muted palette he's using. Everything feels very blended. Curator: Exactly! That’s part of the charm. Boudin was painting "en plein air" – directly in front of the subject, striving to capture the immediate impression of the scene. Think about how radical that was at the time! What do you suppose capturing that immediate impression meant to the artist? Editor: I guess he wanted to capture a feeling, rather than just a photograph-like copy. So the haziness… that's part of the feeling? Curator: Precisely! The impermanence of the moment, the transient effects of weather. These painters were chasing after something that photography simply couldn't offer. Painting light is, in many ways, painting time. He really inspires me, actually, maybe I should paint a coastal scene. What about you? What’s your biggest takeaway? Editor: I think just seeing how much emotion can be packed into what seems like a simple landscape. It makes me appreciate Impressionism in a new way.